Untitled (baby on barber chair) c. 1950

Editor: Here we have "Untitled (baby on barber chair)" by Lucian and Mary Brown, a small photograph. It’s strikingly stark, almost ghostly, because it's a negative image. What can you tell me about how the context influences this type of photo? Curator: The photographic negative, often unseen, holds immense power. Its existence allows for mass reproduction and distribution of imagery. In this case, by showing us the negative, the Browns are highlighting photography's role in shaping our perceptions of childhood and domestic life. What does the inversion of tone suggest about this power dynamic? Editor: Maybe they're questioning idealized images of childhood, by showing us this "opposite" view. I never thought about how printing photos makes them more "real." Thanks! Curator: Precisely! And consider how this challenges the presumed objectivity of the photographic medium itself.